How should costumes be chosen in a production of Carlo Goldoni's The Servant of Two Masters following the conventions of Commedia dell'Arte? by Jessica Hornsey The Servant of Two Masters is a Venetian comedy in the style of Commedia dell'Arte, written by Carlo Goldoni in 1743. In order for a director to portray Truffaldino and Smeraldina's class clearly, a costume designer would need to know the origins of the characters, as well as traditional masks and costume styles and colours. The Servant of Two Masters takes place in Venice when a servant – the main character, Truffaldino – and his master – Beatrice, disguised as a man – arrive in Venice. Whilst Beatrice is preoccupied with finding Florindo, her lover who fled after having …show more content…
Furthermore, without the masks, costumes became more important in the identification of the stock characters. This shows that The Servant of Two Masters is a landmark in the history and development in Italian theatre. Truffaldino is the stock character "Arlecchino", a Zanni 13, or servant. His role in the play's antics as a buffoonish but agile and clever trickster grows as the play progresses, which is typical for Arlecchino in Commedia. 14 Truffaldino is central to the action in the play, the pivot around which all the action revolves and the source of most confusion. 15 This is demonstrated when he is to give both his master’s clothes an airing and he mixes up their belongings: “(He appears to shove the miniature into the pocket of FLORINDO’s purple jacket […] FLORINDO pats his pockets and feels something there. He takes out the miniature.) FLORINDO Good heavens! This is [...] the very portrait I gave to my beloved Beatrice! Tell me, you, 11 ibid 12 Memoirs of M. Goldoni. Trans. Barrett, H. Clark. In European Theories of the Drama: Crown. 1947. p.249 13 Zanni; An unfortunate immigrant worker, also a servant; contributes to any confusion; always hungry. Rudlin, John. Commedia
• A fear of foreigners during Elizabethan times fostered misogynistic and racist values, which is evident in the way Othello’s blackness becomes a symbol of alienation to which all characters in the play must respond.
Arlecchino has an enduring magical power, a testimony perhaps to the mystery of it origin. He is a servant and jester, usually to Pantalone, but also frequently Il'Capitano, or Il' Dottore. He wears a tight-fitting long jacket and trousers, sewn over with random, odd-shapen patches of green, yellow, red and brown
In examining the libretto The Phantom of the Opera, the interactions and attitudes of the characters, and the language used, I will show how the Phantom’s obsession over Christine, although at times destructive, leads to his change from an evil and selfish villain, to a remorseful and compassionate hero. To understand the psyche of the Phantom, one must first have a brief overview of the play.
Cited:1. Balthazar, Scott Leslie. Evolving conventions in Italian serious opera: scene structure in the works of Rossini, Bellini, Donizetti and Verdi. University of Pennsylvania, 1985.
Oliver Parker’s 1995 interpretation of Shakespeare’s 1600’s timeless classic Othello presents a differing construction of Othello from the original play, achieved through uses of a plethora of film devices. Both the play and the film masterfully spin a tale of romance, tragedy and death telling the fall of glory of Othello due to the acts of his ensign Iago, albeit with several differences in the presentation. Both Shakespeare and Parker explore themes of jealousy, power, and racism through the key characters of Othello and Iago. Parker utilises cutting, close-ups, mise-en-scene, music and a variety of others to bring his own in-depth dissection and construction of Othello.
Leonato’s niece and Hero’s cousin. Beatrice is “a pleasant-spirited lady” with a very sharp tongue. She is generous and loving, but, like Benedick, continually mocks other people with elaborately tooled jokes and puns.
Commedia dell'arte is a truly popular form of theatre - of the people, by the people, for the people.
The Anglo shames the Chicano by making him feel inferior. This displacement does not belong solely to the Chicano but rather all minorities that pose a threat to the Anglo’s ego. This can be illustrated in Othello by the relationship between Othello and
Antonio rescues Sebastian after the shipwreck that separated him from his twin, Viola. Antonio immediately takes a liking to Sebastian and helps get back on his feet. Sebastian heads to Duke Orsino’s court to look for work, Antonio offers to help but Sebastian has to decline as Antonio is a wanted man and accompanying him on his journey would put him at risk. “But, come what may, I do adore thee so, / the danger shall seem sport, and I will go.” (2.1.43-44) Antonio follows him anyways and ends up encountering Viola dressed as Cesario in the middle of a fight with Sir Andrew. Because Antonio thinks Cesario is Sebastian, he steps in to defend him, out of his love. Viola is confused because she’s never met Antonio before. But, Sir Toby and Sir Andrew recognize him as the wanted criminal that he is and turn him in to the authorities. Although Antonio is ultimately released he still ends up heartbroken as Sebastian ends up married to Olivia.
The film however, operates in two distinct modes: the narrative of a profoundly human struggle for survival that remains common to all, and the unromantic depiction of Italian class struggle in the postwar era. In the latter mode, the film illustrates a series of behaviors, and social structure that remain indifferent to Antonio and his desperate situation. It identifies Antonio and his family by their situational relationship, with the various groups present in Rome during the postwar period. E.g., Antonio’s family is displaced from his local group of communists, churchgoers, and market folks
The passage to be studied is from Act 3, scene1, from the play, ‘The Duchess of Malfi’. The importance of this passage, and where it fits into the play, is explained in the first paragraph. The following paragraph will highlight some of the distinctive features of its language, starting with the beginning of the passage and comparing it to the end of the passage. The analysis of the text will cover rhythm, sounds, punctuation, repetition, alliteration, enjambment and caesura. Using these techniques Webster helps the reader to extract meaning, characterisation and the themes of the play. Finally, the third paragraph will show how the distinctive features of the language can be translated into performance using lighting, tone of voice, props, costume, sound and space. The language used in the text of the play is the source to its meaning and performance.
William Shakespeare’s comedy The Merchant of Venice tells the story of Antonio, a merchant, who borrows money from Shylock a Jewish moneylender to help his friend, Bassanio, marry a woman. The play highlights the tension between Jews and Christians in society through the interactions between Shylock and the Christians. In contrast, the play also highlights the positive aspects of both religions. The main point of The Merchant of Venice is to critique society’s treatment of religion.
Othello is one of the greatest plays due to its variety of character and themes. The immorality seen in Iago, the gullibility in Othello, and the desperation of Desdemona make the story. The theme of social status plays a huge role in the story. In addition, the theme of appearance versus reality also plays a huge role in how each tragedy happens. In the critical essay “Othello” it discusses the idea that the characters are cast as outsiders due to false interpretation of what is happening or what is being said. On the other hand, the piece “Othello Character Analysis” emphasizes how characterization reflects the greatness of the piece.
The mistaken identity in this play is related to the prevalence of disguises in the play as Viola's male clothing leads to her being mistaken for her brother Sebastian. Sebastian is mistaken for Viola (or rather, Cesario) by Sir Andrew and Sir Toby, and then by Olivia, who quickly marries him. Meanwhile, Antonio mistakes Viola for Sebastian and thinks that his friend has betrayed him when Viola claims not to know him. While Viola is in a sword fight against Sir Andrew, Antonio is trying to be a loyal friend by taking the place of Viola, who he thinks is Sebastian. Antonio is not liked by Orsino's court, so he is then arrested and taken away. While this is happening, Antonio asks Viola for his purse back, which he gives to Sebastian. Viola becomes extremely confused and claimed not having his purse and being a close friend of his. Antonio takes this as deception and thinks that Sebastian, who is really Viola, is a coward. These cases of mistaken identity, common in
Imagine a classic Shakespearian play or Italian opera performed in hip-hugging jeans or baggy t-shirts; or imagine the period musical 1776, produced by the wonderful Stuart Ostrow, performed in the groovy attire of the 1970s. These performances would seem completely out of place and confusing. One would not be able to grasp the completeness of the story or have any understanding of the time period, geographical location, or the character’s lifestyles and/or social statuses. As a result, the audience would fail to see certain emotions or feelings portrayed, character personalities, and would find it very difficult be connected to